for SATB and piano A dramatic and characterful presentation of Psalm 68 for mixed voices and piano that is rich in colour and changes of tempo and style.

for SATB and piano This lively and upbeat anthem sets a text by the composer based on a passage from Thessalonians. The opening and closing sections feature a catchy melody and recurring syncopated figure in the piano, enclosing a more subdued middle section. Simply yet effectively scored and highly accessible in style, this anthem makes a dynamic addition to a service or concert.

for SATB and piano For this appealing arrangement, Howard Helvey has created the perfect marriage of text and melody. The popular hymn tune 'Ash Grove' is paired with a beautiful text by Sarah Doudney that is rich in imagery. The sparkling piano accompaniment provides the perfect backdrop to the sensitively arranged vocal parts and reflects the joyful and optimistic character of the text.

for SATB and organ or piano How excellent is an upbeat and celebratory work setting the composer's own paraphrase of Psalm 8. It features exciting and declamatory opening and closing sections with a contrastingly calm and legato central section, evoking this well-known scriptural text. The accompaniment should ideally be played on organ, but piano may be used if necessary.

for SATB and piano This is a peaceful and expressive setting of Oliver Cooke's hymn 'I Know a Fount', a musical reminder that by God's love and sacrifice our sins are washed away. The rich, homophonic choral writing and simple, rippling piano accompaniment give space for the text to be fully heard and embraced by the listener.

for SATB and organ or piano Opening out from a lyrical exchange between unison lower and upper voices, As the bridegroom to his chosen is based around a John Tauler poem rich in metaphorical language that reflects on the protagonist's relationship with the Lord. Contrasting textures and eminently singable melodies make this a musically rewarding yet accessible anthem.

for soprano solo, SATB, with organ and unaccompanied This short collection presents the complete set of meditations from Chilcott's stunning St John Passion. Setting English poems from the 13th to the early 17th centuries, the meditations provide a very personal reflection on the dramatic story of the passion - at times anguished, adoring, and humbling. The beautiful soprano solo soars over the SATB voices and organ accompaniment in 'Christ, my Beloved' and 'Jesus, my Leman', while the unaccompanied choir take centre stage for 'Miserere, my Maker' and 'Away vain world'.

Mirrors of Heaven or Worldly Theaters? Venetian Nunneries and Their Music explores the dynamic role of music performance and patronage in the convents of Venice and its lagoon from the sixteenth century to the fall of Venice around 1800. Examining sacred music performed by the nuns themselves and by professional musicians they employed, author Jonathan E. Glixon considers the nuns as collective patrons, of both musical performances by professionals in their external churches-primarily for the annual feast of the patron saint, a notable attraction for both Venetians and foreign visitors-and of musical instruments, namely organs and bells. The book explores the rituals and accompanying music for the transitions in a nun's life, most importantly the ceremonies through which she moved from the outside world to the cloister, as well as liturgical music within the cloister, performed by the nuns themselves, from chant to simple polyphony, and the rare occasions where more elaborate music can be documented. Also considered are the teaching of music to both nuns and girls resident in convents as boarding students, and entertainment-musical and theatrical-by and for the nuns. Mirrors of Heaven, the first large-scale study of its kind, contains richly detailed appendices featuring a calendar of musical events at Venetian nunneries, details on nunnery organs, lists of teachers, and inventories of musical and ceremonial books, both manuscript and printed. A companion website supplements the book's musical examples with editions of complete musical works, which are brought to life with accompanying audio files.

for SATB and piano or organ This uplifting setting of words from Psalms 24 and 118 is bold and energetic, whilst still easy to prepare. Passages for unison voices flower into harmony over a supportive accompaniment for piano or organ. The anthem would be particularly well-suited to a Palm Sunday or Advent service.

for SATB double choir unaccompanied or SATB (with divisions) and organ This anthem is a tender setting of a prayer by the 13th-century bishop St Richard of Chichester. It features on The King's Singers' albums High Flight (SIGCD262) and Christmas Presence (SIGCD801).

for SATB double choir unaccompanied This optimistic and affirmatory anthem sets a useful service text of general thanksgiving from the Book of Common Prayer. Chilcott makes full use of the imitation and antiphonal effects that these forces enable, while keeping the vocal lines and part-writing well within the capabilities of most church choirs.

for SATB double choir and organ or orchestra or brass ensemble This renowned anthem was written for the coronation of Edward VII in 1902, and has been performed at all subsequent British coronations. This edition presents the 1911 version prepared by the composer for the coronation of George V, with the 'Vivats' as written for that occasion and an alternative editorial text by John Rutter that enables the anthem to be performed in its complete form on any suitable occasion. Rutter's fascinating editorial preface provides interesting contextual notes and informative performance considerations. Orchestral scores and instrumental parts for full and reduced orchestrations and for a version for brass, organ, and optional timpani are available on rental.

for unison upper voices, solo violin, and organ or piano Bednall's beautiful setting of this much-loved prayer is warm, simple, and immediate. The vocal line is expertly lyrical and the accompaniment suitably supporting, with a serene line for solo violin that soars above the texture. Ave Maria was recorded by Benenden Chapel Choir, conducted by Edward Whiting, Jennifer Pike (violin), and David Bednall (organ) on the CD 'Stabat Mater' (Regent, REGCD481).

These four splendid anthems were composed for the coronation of George II in October 1727 and have since retained a position at the heart of the English choral tradition. The popular anthem Zadok the priest has been performed at all subsequent coronations, and Handel's other contributions to the royal occasion - Let thy hand be strengthened, The King shall rejoice, and My heart is inditing - have the same majestic grandeur, with affecting contrasts between different sections of the sacred texts. The editor, Clifford Bartlett, has corrected various inconsistencies in Handel's score, and complete details of sources and editorial method, additional performance notes, and a critical commentary can be viewed in the companion full score available on hire. This continuo part is also available as part of the wind set.

for SATB unaccompanied This gentle anthem is built around a warm, hymn-like refrain, which gives way first to a free-flowing and expressive section and then to a more sombre section. With a Latin text from Ruth 1, this affecting piece with highly-expressive harmony will serve well for weddings, services, and concerts.

for SATB (with divisions) unaccompanied This piece sets a poem by Amy Lowell, vividly conveying the effect of the wind through a moving tapestry of eighth notes/quavers intertwined between the different voices. The melody floats over this breeze-like ostinato, sometimes effervescent, sometimes reposed. The piece concludes much like it begins, with a sense of calm and restfulness towards the nocturnal journey.

for SSAA unaccompanied, with optional handbells This compelling a cappella setting of Henry Van Dyke's poem has a continual sense of motion, created by the 7/8 metre and scat singing style that is passed around the parts. This is a powerful and uplifting anthem for general worship.

for SATB unaccompanied and optional flute This warm and tender carol sets an evocative text by Norman Nicholson depicting Mary's gentle nurturing of her child. There is a beautiful simplicity in Chilcott's setting, which features sumptuous harmonies, lyrical melodies, and an optional part for flute that weaves in and out of the texture. The flute part is printed in the vocal score.

for SSATB unaccompanied Commissioned by Ralph Woodward and the Fairhaven Singers in memory of Dora Kemp, one of the choir's sopranos, God is Light sets lines from Psalm 139, 1 Thessalonians, and 1 John. It moves from an unsettled tonality at the beginning, through anguished false relations and wistful expressivity, to find triumphant resolution in a blazing A major at the end. Like all of McDowall's music, it is well crafted and singable. God is Light was first performed on 12 November 2016 in Queens' College Chapel, Cambridge, by the Fairheaven Singers and Perse Prep Senior Choir (director Paul Harris), conducted by Ralph Woodward.

In this volume fifteen musicologists from five countries present new findings and observations concerning the production, distribution and use of music manuscripts and prints in seventeenth-century Europe. A special emphasis is laid on the Duben Collection, one of the largest music collections of seventeenth-century Europe, preserved at the Uppsala University Library. The papers in this volume were initially presented at an international conference at Uppsala University in September 2006, held on the occasion of the launching of The Duben Collection Database Catalogue on the Internet. For the first time, the entire collection had been made acessible worldwide, covering a vast number of musical and philological aspects of all items in the collection.

for SATB (with divisions) unaccompanied First performed by the Choir of St Luke's Episcopal Church, Evanston, Illinois, in 2016, this powerful motet sets a reflective text by Augustine of Hippo. Connoisseurs of Jackson's music will recognise the hallmarks of his highly accessible style: inventive harmony that is largely diatonic but never plain, and textures that encompass the blazingly sonorous and the expressively intimate.

for SATB unaccompanied This anthem for unaccompanied choir juxtaposes the words of the Antiphon for the Washing of Feet on Maundy Thursday with 'The red rose whispers of passion' by the poet John Boyle O'Reilly. Jackson combines lyrical polyphonic phrases for upper and lower voices with atmospheric passages for full choir, frequently accompanied by repeated half-whispered text in free time.